Heavy Music Mastering Engineer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I mastered the RUÏM Black Royal Spiritism – I – O Sino da Igreja LP for Peaceville Records, which won the Norwegian Spellemann award (the Norwegian "Grammy") for "Best Metal Album 2023"

Q: What are you working on at the moment?

A: 3 new Darkthrone projects for Peaceville Records.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Maor Appelbaum https://soundbetter.com/profiles/1567-maor-appelbaum-mastering#profile-profile

Q: Analog or digital and why?

A: Depends on what best serves the song.

Q: What's your 'promise' to your clients?

A: If you want my creative vision, you will have my undivided attention. Let’s bring your music to life and make an unforgettable impact together!

Q: What do you like most about your job?

A: The deep artistic gratification of being a silent member of every band you work with, helping them birth their creation into the world.

Q: What questions do customers most commonly ask you? What's your answer?

A: Question: How is that possible?! Answer: Witchcraft.

Q: What's the biggest misconception about what you do?

A: That mastering is just an obligatory step before sending music off to its final format. Or that you can do it yourself. It is so much more than that. It can play a crucial role in shaping the final sound as well as being the last opportunity to check for any problems. In a broader sense, mastering is the opportunity to have music that you have lost perspective on reviewed by a different set of professional ears, who's taste, experience, knowledge, gear and listening environment are probably superior to yours.

Q: What questions do you ask prospective clients?

A: Does your mix inspire you? If not, what would you like to hear in mastering that will? Also, what format is this going to? Who will be cutting vinyl? etc...

Q: What advice do you have for a customer looking to hire a provider like you?

A: Mastering is so much more than what you think it is. It can be a Dark Art that produces results and a connection that you had not thought possible. Or it can be unimpressive and even destructive in the hands of the wrong mastering engineer. Choose your Witch Doctor wisely.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: Trinnov IGS 825 tube mastering EQ Black Box HG2 Goly CrossComp EQ Gainlab Empress Pultec EQ

Q: What was your career path? How long have you been doing this?

A: I have been involved in most aspects of music production for over 30 years. Playing in bands, producing records, running a record label, being a young kid bugging the older lacquer-cutting engineer with hundreds of questions... I have been a professional mastering engineer for almost 20 years and have had the privilege of working with some of the industry's top names. I currently partner with Maor Appelbaum and am very proud of the work that we have been doing together.

Q: How would you describe your style?

A: Balanced. Impactful. Intentional.

Q: Which artist would you like to work with and why?

A: I would keep it vague and say that I would like to work with artists that bring opportunities for me to expand my musical horizons and give me space to explore creative techniques and ideas.

Q: Can you share one music production tip?

A: An imperfect, inspired performance is almost always more compelling than a perfect, uninspired performance. Don't let the perfect be the enemy of the good. Capture that lightning in a bottle and run with it. Most of your favorite recordings are far from perfect when closely examined.

Q: What type of music do you usually work on?

A: I specialize in producing and mastering for bands and record labels, focusing on the vibrant realms of heavy music genres, including Metal, Punk, Hardcore, Electronic, Noise, and Experimental.

Q: What's your strongest skill?

A: Understanding what a fan of the artist's music wants to hear. My expertise ensures that each project not only meets industry standards but also stands out with a powerful and distinct sonic identity.

Q: What do you bring to a song?

A: Perspective. Taste. Experience. There will be times when the song requires a fairly dramatic transformation. We can communicate about that. Often, there will be times when the song needs fairly little of my fingerprint. Sometimes less is more. Ultimately, the goal is connection and impact.

Q: What's your typical work process?

A: I will start by spending some time with the music, not only reviewing to see what needs to be corrected but also to allow it to connect with me emotionally. So much of my process is instinctive: create vibe, generate movement. When working with within my analog gear chain, I am immersed in the emotion of the music, playing the gear as an instrument. When the vibe and the impact are there and the music and the gear are resonating together... Success.

Q: Tell us about your studio setup.

A: I have a unique workflow of high-end analog hardware, as well as specific digital processing that I have meticulously assembled over years of testing and auditioning. The mastering room employs Acoustic Science Corporation design and treatment, as well as a Trinnov ST2 correction system to ensure accurate translation in all environments and on all systems. Some exceptional analog gear includes an IGS 825 tube mastering EQ, Black Box Designs HG2 tube saturation processor, Louder Than Liftoff Silver Bullet Mk2 Neve/API tone amp, Goly CrossCompression Dynamic EQ, Etec DBTL20 cutting lathe high frequency/low frequency limiter, TK M/S Station mastering console, Dangerous Music converters, and PSI monitors and sub.

Q: What other musicians or music production professionals inspire you?

A: I have deep respect for musicians and fellow professionals who are not afraid to think out of the box. Let's take chances, stretch boundaries, explore possibilities, and keep our craft interesting and exciting.

Q: Describe the most common type of work you do for your clients.

A: I am primarily a mastering engineer, but I also work as a producer and a consultant. I work with artists and labels of all budgets, from major labels to bedroom artists, and I devote 100% of my passion and attention to all. I bring an objective perspective, offering a last opportunity for creativity and/or technical problem solving.